Prepare for a government of strangers: people we don’t know and haven’t met.

That government, those strangers, or mostly strangers, will shape the presidency of Donald Trump -- not the slogans, not the declarations of intentions, not the hopes of those who threw in with Trump, but the merging of those interests represented by officeholders who aren’t well known in Washington or the nation.

In the short time between now and Jan. 20, the Trump transition team has to come up with some very key players, who eventually will have to be confirmed by the Senate -- an easier prospect with a Republican-controlled Senate, but not a slam-dunk.

In relations with the world’s nations, some of whom Trump has vigorously unfriended during the campaign, these jobs will be of first importance, including secretary of state; secretary of defense; national security adviser; secretary of the Treasury, and secretary of energy (often forgotten as a defense agency), who is the keeper of our nuclear arsenal.

Domestically, Trump needs to name quickly staff at the White House, especially the Office of Management and Budget, which, within short weeks of climbing aboard, must prepare a budget for him to send to Capitol Hill. That budget will be, in many ways, the first indication of how Trump plans to govern. Republicans as much as Democrats will be leery of what it contains.

After those critical positions, there are 4,000 additional positions to filled, 100 of which require Senate confirmation.

The conservative think tanks in Washington stand ready to heed the call, and maybe to provoke it, if they have an in. The think tanks are sounding boards for political ideas, like what to do about healthcare, foreign policy and trade, but they also represent something of a government in exile.

When a party is defeated, the ranks of the think tanks sympathetic to that party swell. Expect to see the Brookings Institution, the Progressive Policy Institute, the Economic Policy Institute and the New America Foundation find places for those leaving the Obama administration.

Likewise, the American Enterprise Institute, the Heritage Foundation, the Center for Strategic and International Studies and the newer Foreign Policy Initiative will be ready to disgorge their best to serve in government.

It is a changing of the guard that takes place with each election that results in a change of party.

After the think tanks, or maybe in lockstep, come the universities. Look for Obama refugees to show up at places like Harvard’s John F. Kennedy School of Government: a kind of halfway house for politicos. MIT and Stanford expect to have their faculty raided for the top jobs in the department of defense, energy and homeland security. Whether Trump and his people will raid these larders of talent is unknown.

Normally, White House watchers have a trail of crumbs to follow. They can say so-and-so was at college with the president, that professor so-and-so helped him form a position on nuclear power, or some think-tanker may have had a role in the campaign.

The Trump the clues are meager. Only four names stand out: Steve Bannon, of Breitbart News, the campaign’s chief executive; Kellyanne Conway, his campaign manager; New Jersey Gov. Chris Christie, his transition-team head, and Sean Hannity of Fox News. Another clue: Many on the campaign staff once worked for Bob Dole (R.-Kan.) when he was in the Senate.

Journalists will be watching the Trump camp just as Kremlin watchers in the days of the Soviet Union watched for hints out of Moscow. How will Trump govern? Who will staff his administration?

While Trump and his administration get settled in, while they find out how enormously complicated and far-flung the responsibilities of the U.S. government are, the day to day running of the country will be with the disparaged civil service: the bureaucrats so despised by Trump the campaigner, now his vital aides in transition.

Llewellyn King is executive producer and host of White House Chronicle, on PBS. His e-mail address is llewellynking1@gmail.com.

"Shippwrekked (BR15-108'') (acrylic on fabric), by Brent Ridge, in show "Liz Gargas and Brent Ridge,'' at the New Art Center, Newton, Mass., March 4-April 10. The gallery says that Mr. Ridge "operates in a land of abstraction rooted in appropriation, landscape, and post-industrial aesthetics''

"Smoke" by Lisa Oppenheim

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"The parody trailer by comedy network Above Average explores a world in which the dedicated Spotlight team finishes their work on sexual abuse in the Catholic church and investigates what else is wrong with Boston: everything."

Newport

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson

'Better Angels: Firefighters of 9/11,' by Dawn Howkinson Siebel, at the Wood Museum, Springfield, Mass through July 10, 2016

Her work features 343 portraits, one for every New York City firefighter lost in the attacks on the World Trade Center. The images are along a 21-foot-long wall, allowing visitors to come face to face with men who made a living out of risking their own in order to save others.

"Saturday, March 21 (1965). Afternoon. Taken on my arrival in Selma {Ala, at the Brown Chapel area," by JAMES H. BARKER

"Saturday, March 21 {1965}. Afternoon. Taken on my arrival in Selma {Ala.}, at the Brown Chapel area," by JAMES H. BARKER, in the show "Through the Lens of History: Selma & Civil Rights,'' Grand Circle Gallery, Boston, through January.

"Consumable Sugarhouse,''

"Consumable Sugarhouse,'' in Norwich, Vt.

“A sap run is the sweet good-bye of winter”

"Window 60 Autumn,'' by Maira Reinbergs

"Window 60 Autumn,'' by Maira Reinbergs in the "Color Passages'' show at ArtProv gallery, Providence, through Feb. 17.

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata"

"Hydrogen 1,'' by Sarah Hulsey, in her show "Schemata,'' at Chandler Gallery, Cambridge, Mass., through March 11.

An arrogant plutocrat for the masses; bees imperiled

How curious that middle- and lower-income Americans who feel with some justification that they have been treated with disdain by an increasingly arrogant and selfish plutocracy turn for leadership to a sleazy, arrogant and narcissistic member of the plutocracy.

"Frog Prince,'' by MAXFIELD PARRISH, at the show "The Power of Print,'' at the Currier Museum of Art, Manchester, N.H., through Jan. 10. Mr Parrish did much of his work in New England at the artists' colony in Cornish, N.H.

"Whale's Jaw, Dogtown,''

"Whale's Jaw, Dogtown,'' from the archives of the Cape Ann Museum, in Gloucester.

Mornings in Little Compton

by Lydia Davison Whitcomb

Mornings in Little Compton

by Lydia Davison Whitcomb

Colored Stone History

by Lydia Davison Whitcomb

"Unihemispheric Existence''

"Unihemispheric Existence'' (detail) (steel, wood, gallery wall), by WILSON HARDING LAWRENCE, in the show "Nuanced: open-endedness, capaciousness and other provocative conditions of making,'' at the Dedee Shattuck Gallery, Westport, Mass., through

"The Market Is a Snake,'' by MICHAEL YEFKO, in the show "Further on Down the Yellow Brick Road,'' at Hera Gallery, in Wakefield, R.I., through June 20. In it he explores "temporal aspects of geometry.''

"Physicality'' (photography, oil, narrative text and resin on panel), by SHERRY KARVER, in her show "Objects of Affection,'' at Lanoue Gallery, Boston, through Oct. 31.

"Dream Work of Thomas Street''

(acrylic on panel), by SHAWN KENNEY

"Karl with Honeybears"

"Karl with Honeybears'' (oil on canvas), by DAVID PETTIBONE, at the Corey Daniels Gallery,

"smoke"

"Smoke'' (installation view, two-channel video, looped), by LISA OPPENHEIM, in the "Film as Medium and Metaphor'' show at the Massachusetts Museum of Contemporary Art, North Adams, Mass.

"Elevation'' (acryllic on canvas), by Diane Novetsky, in her show 'EARTHSHIFTER

"Nero''

"Nero'' (Marquina marble), by PAUL BLOCH

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward

"New Orleans Sketchbook, March 1-17, 2007, Lower Ninth Ward,'' by JEFFREY MARSHALL, in the show "Katrina Then and Now: Artists as Witness,'' through Oct. 10, at Gerald Cantor Art Gallery, College of the Holy Cross, Worcester.

"Siberia Imagined and Reimagined"

Photo in Krasnoskamensk, Russia, March 2006, by SERGEY MAXIMISHIN, in the show "Siberia Imagined and Reimagined,'' at the Museum of Russian Icons, Clinton, Mass., through Jan. 10.

"Arcology'' (detail; gouache and Lascaux acrylics on archival papers), by Ilona Anderson, in her show "Arcology,'' at Kingston Gallery, Boston.

"Resonance: book in time II''

"Resonance: book in time II'' show at Brickbottom Gallery, Somerville, Mass., Dec. 6-Jan. 16. It's a collection of individual and collaborative artists' books by Ann Forbush, Ania Gilmore and Annie Zeybekoglu.

"Civil Rights Marchers Walking from Selma to Montgomery, Alabama, on Monday, March 23, 1965,'' photo by JAMES BARKER, in the show "Through the Lens of History: Selma & Civil Rights at the Grand Circle Gallery,'' Boston, through January.